For those of you who have visited the Florida Mediation Group Web Site (FloridaMediationGroup.com) and flipped over to my resume page, you will have seen and perhaps engaged in some selective reading of my "Ed'sitorials." On two occasions, the most recent in April '01, I discussed the phenomenon of body language. Of course, my focus at the time was on the participants at mediations that I conduct.

As I wrote the piece, donning my legal hat, it struck me that awareness of anatomical communications is by no means limited to a legal setting.

Writers give readings, seminars, workshops, etc., often with their latest literary achievement as the focal point. Recognizing some of the silent signs conveyed by your audience can have a bearing on what and how you are approaching your subject.

In addition, the characters we create to propel our spine tingling, suspense filled, edge-of-your-seat stories (how's that for wishful thinking!) also can be assigned many of these physical manipulations, to let the readers know, without telling them, what is in a character's mind at a given moment.

Finally, in general, it's not a bad idea to keep this information in your head as you meet with folks in social or business settings.

So, with this in mind, let's go over some of the more obvious body language you might want to be alert for in any of the above circumstances.

About three years ago, in a piece entitled "The Eyes Have It!", I offered some comments about body language. Since then, I have had the pleasure of reading The Mediator's Handbook, authored by John W. Cooley and published this past year by The Institute for Trial Advocacy. Mr. Cooley came up with a number of other observations on the subject. I think they're worth sharing.

In Section 2.3, "Effective Processing of Sensed Body Language," Cooley states that "your effectiveness as a mediator [read, any communicator, written or oral] will, in part, depend on your ability to accurately sense and interpret.body language.." However, Cooley goes beyond silent language and includes tones and textures of verbal communications.

Verbal communications, Cooley explains, conveys factual information, while nonverbal conveys emotional information or feelings, the latter normally, but not exclusively, in the form of body language. In addition, he refers to "paralanguage" as a form of communication conveyed by vocal aspects. Familiarizing yourself with these can make for more interesting characters in your next novel or short story. Examples are:

• Monotone voice (boredom)
• Slow speed or low pitch (depression)
• High voice or emphatic pitch (enthusiasm)
• Abrupt speech (defensiveness)
• Terse speed, loud tone (anger)
• High pitch, drawn-out speech (disbelief)
• Ascending tone (astonishment)

Cooley and I have a few differences of opinion as to body language, so you'll have to be the judge. When in doubt and where different, consider both as possibilities:

I would add to these the following:

To the extent these "languages" are instinctive and not controlled, they will mean something. They may even tip you off regarding your audience's reaction or suggest what you wish your fictional character to convey to the reader.

On the other hand, under the control of a crafty manipulator, they can be used as a means of misleading the observer or the reader. Consider the misdirections caused by that famous fictional detective, Columbo, whose reversed body language frequently "set up" his suspects by disarming them. Picture him tugging his ear or his hand over his mouth or rubbing his eyes, none of which conveyed his true feelings. Even when his finger went to his cheek, you knew he was not evaluating, that he already considered the suspect guilty as sin!

So, whether you are the observer or the creative writer, watch the bod! It might save the day - or the bestseller.

Ed Ahrens